Beginning from a disillusioned socio-economic analysis of the suburbs of Naples, Eugenio Tibaldi has gradually ex- tended his field of research, identifying the potential hidden within the periphery of metropolises such as Caracas, Istanbul and Alexandria. Simultaneously, he has carefully reflected on the development of architecture and post- production solutions, finding new aesthetics through a process of “post-design”.
With the works on display at the Umberto Di Marino Gallery the artist has attempted to set up a process of ex- change between people and different perspectives: it is a project in which problems linked to marketing, industrial design and contemporary productive dynamics become the form and substance of conceptual formulation. In the first room, a sign taken from a shop selling pet food opens the exhibition with a superimposition of forms, seemingly bereft of logic, caused by the cramming together of stickers of pet food suppliers over the years. Tibaldi therefore adopts the device of barter, taking a spontaneous aesthetic result from a specific peripheral area and giv- ing it new formal dynamics, creating a sign as a replacement for the removed one.
The concept is extended to a more complex context at the end of the exhibition itinerary in the installation supernatural, the production of a perfectly functioning prototype of a bathroom inspired by observation of the life of a Roma community. A system used to overcome the problem of running water, given the absence of a water sys- tem, is taken as a model for a design object which acquires all the characteristics of a luxury good. The resin and the accurate phase of post-design create a new product which, while maintaining its original inspiration in the use of recycled materials, transcends its original appearance and is transformed into an aesthetic module. Neverthe- less, this initial development brings with it another consequence: contextualised within a gallery, the design object abandons its own functionality and rises to the status of a work of art thanks to conceptual cross-reference. In the second room the video-advertisement of supernatural, made in conjunction with the artistic duo Bianco-Valente, plays on a similar ambiguity and offers a new challenge that aims to create a comparison and ex- change of roles and functions: it is a reflection on the idea of relations, not the common notion upon which social relationships are constructed on a daily basis but the one upon which every authentic collaborative relationship is based. In this exhibition, it represents a collective effort of interpenetration into the needs of the other person: the effort of several artistic individualities and a gallery communicating between them and with the outside world, that of craftspeople who pit themselves against highly unusual forms of logic, and that of a sponsor like Nabilah whose support is not just restricted to providing an economic contribution but also to offering collaboration during the design phase.